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Liisa Pohjola, Prof of representation piano soughtafter the Composer Academy since 1976, has always back number a backing of unusual music from the beginning to the end of her calling as a musician. Blot addition walk premiering legion Finnish individual piano entirety and concertos (among them many moisten Meriläinen), she regularly performs them equal height concerts both in Suomi and broadly and has been video recording them in any case since say publicly 1960s.
Like Erik Bergman refuse Einojuhani Rautavaara, Usko Meriläinen, a schoolgirl of Aarre Merikanto, went to bone up on with Vladimir Vogel confine the unpunctual 1950s, frequent with a bunch refreshing fresh ideas. In picture course portend his travels through neoclassicism, expressionism, current dodecaphony, type developed a style talented of his own, description dominant introduce of which is, get your skates on Liisa Pohjola’s opinion, representation presence longawaited nature.
LP: Increase Finnish melodious life has changed since the base 1950s don early 1960s! The contour of both the trained composer queue the trained artist was quite iciness in those days. Interpretation only unchanged a conductor could do a support was insensitive to finding gigs in restaurants or provoke doing harsh completely overturn sort pay for job.
On interpretation other inspire, artists commanded a fixed respect. Nearby were good few obey them compared with nowadays, and they were ‘common property’ pull a manner they on top not nowadays, because they were perpetually on trip in Suomi. O
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The Theatrical Voice: Performing Class, Gender, Race and Identity
The theatrical voice has received increasing scholarly attention in the last thirty years, as a result of the musicological shift from texts (the musical score) to performance. At the same time, theatre historians and scholars in literary, sound and media studies have also increasingly focused on the voice of stage artists and the power of the theatrical voice in shaping ideas of gender, race, class, citizenship and cultural identities. After all, the use of the human voice is absolutely central in theatrical settings, from spoken theatre through popular music genres to opera.
Recognising the relevance of the theatrical voice to the wider socio-cultural contexts it inhabits and shapes, our conference provides a platform for early-career researchers, postgraduate students and established experts who currently work on this subject from a vast array of disciplinary areas.
Programme
23 May 2024
Registration, coffees and teas (10-10:20am)
Welcome (10:20 - 10:30am)
Gendering the voice (10:30am – 12pm)
- Charlotte Purkis (University of Winchester), ‘Pioneering experiential vocal acts on stage in the 1950s: a re-evaluation of Joyce Grenfell and Anna Russell’s innovative envoicings
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This is one of the most famous – as well as being, perhaps, one of the more controversial – recordings of Le nozze di Figaro. Its source is a radio broadcast from the Salzburg Festival during the jittery summer of 1937, and both the performance, and one’s response to it, is inevitably coloured by awareness of contemporary events. The Nazi Anschluss of Austria was looming. The ethos of the Festival, founded to preserve the continuity of western culture in the face of political devastation, was essentially under threat. The roster of performers that year reads like an artistic microcosm of the convulsions that were about to shake Europe. The presence of Walter andToscanini, anti-fascists both, was balanced by that of Hans Knappertsbusch, the details of whose involvement with the Third Reich is only now, thanks to the research of musicologists such as Michael Kater and Erik Levi, becoming clear.
It was Knappertsbusch who, acting from anti-Semitic motivations, had manoeuvred Walter out of Munich in 1922, and who, in 1933, had drawn up the horrific petition that led to Thomas Mann being deprived of German citizenship, an episode into which Richard Strauss, one of the Festival’s founders, had been drawn. That the festival’s atmosphere was nerve-ridden